For word meanings and explanatory discussion in English click on the tabs marked “Roman” or “Notes”.
https://urdushahkar.org/wp-content/uploads/2022/10/psh-wasteland-audio.mp3
ٹی ایس اِلیٹ کی نظم ویسٹ لینڈ سے متاثر ہو کر
ترے بغیر سرد موسموں کے خوشگوار دن اُداس ہیں
فضا میں دُکھ رچا ہُوا ہے!
ہَوا کوئی اُداس گیت گنگنا رہی ہے
ایسا لگتا ہے
ہَوا کی آنکھیں روتے روتے خشک ہوگئی ہوں
صبا کے دونوں ہاتھ خالی ہیں
کہ شہر میں ترا کہیں پتہ نہیں
سانس لینا کِس قدر محال ہے!
تمام سبز سایہ دار پیڑوں نے
ترے بغیر وحشتوں میں اپنے پیرہن کو تار تار کر دیا ہے
اب کسی شجر کے جسم پر قبا نہیں
سُوکھے زرد پتے
کُو بہ کُو تری تلاش میں بھٹک رہے ہیں
مرے دریچوں میں گلابی دُھوپ روز جھانکتی ہے
مگر اب اس کی آنکھوں میں
وہ جگمگاہٹیں نہیں
جو تیرے وقت میں زمین کے صبیح ماتھے پر
سوُرجوں کی کہکشاں سجانے آتی تھیں
زمین بھی مری طرح ہے!
ترے بغیر اُس کی کوکھ سے اب بھی
کوئی گُلاب اُگ نہ پائے گا
اور مری رُوح کی بہار آفریں کوکھ بھی!
میری سوچ کے صدف میں
فن کے سچے موتی کس طرح جنم لیا کریں
کہ میں سراپا تشنگی ہوں
اور دُور دُور تک____وصالِ اَبر کی خبر نہیں!
میرے اور تیرے درمیان
پانچ پانیوں کے دیس میں
کچے گھڑے بھی تو میری دسترس سے دُور ہیں
میں شعر کس طرح کہوں
میری سوچ کے بدن کو تُو نمو تو دے
۸
میں ترے بغیر’’ویسٹ لینڈ‘‘ ہوں
वेस्ट लैंड – पर्वीन शाकिर
टी एस एलियट का नज़्म ‘वेस्ट लैंड’ से मुतासिर हो कर
तेरे बग़ैर सर्द मोसमौं के ख़ुश्गवार दिन उदास हैं
फ़िज़ा में दुख रचा हुआ है!
हवा कोई उदास गीत गुनगुना रही है
फूलौं के लबौं पे प्यास है
ऐसा लगता है, हवा कि आंखें रोते रोते ख़ुश्क हो गई हैं
सबा के दोनों हाथ ख़ाली हैं
के शहर में तेरा कहीं पता नहीं
सांस लेना किस क़दर महाल है!
तमाम सब्ज़ साया-दार पेढौं ने
तेरे बग़ैर वहशतौं में अपने पैरहन को तार-तार कर दिया
अब किसी शजर के जिस्म पर क़बा नहीं
कू-ब-कू तेरी तलाश में भटक रहे हैं
मेरे दरीचौं में गुलाबी धूप रोज़ झांकती है
जो तेरे वक़्त में ज़मीन के सबीह माथे पर
सूरजौं कि कहकशां सजाते आती थीं
तेरे बग़ैर उस की कोख से अब भी
और मेरी रूह की बहार आफ़्रीं कोख भी!
फ़न के सच्चे मोती किस तरह जनम लिया करें
और दूर दूर तक – विसाल-ए अब्र कि ख़बर नहीं
कच्चे घढे भी तो मेरी दस्तरस से दूर हैं
मेरी सोच के बदन को तू नबू तो दे
मैं तेरे बग़ैर “वेस्ट-लैंड” हूं
Click here for background and on any passage for word meanings and explanatory discussion. parveen shakir (1952-1994), English literature and linguistics, correspondent, educator, Pakistan Civil Service officer. Prolific writer bringing new thought and new forthright, feminist style to urdu shaa’eri. An explicit expression of love by women was taboo until courageous poets like parveen shakir pioneered it. She writes that this was composed inspired by TS Eliot’s ‘Wasteland’. This (2022) is the centennial of the publication of ‘Wasteland’ and I spent a lot of time trying to understand it and relating it to this composition. For more on the relationship between the two poems and for Eliot’s poem please click on the tab ‘Wasteland’.
1
tere baGhair1 sard2 mosamauN ke Khushgawaar3 din udaas4 haiN
fiza5 meN dukh racha6 hua hai!
hawa koi udaas4 geet gunguna rahi hai
phool ke labauN7 pe pyaas hai 1.without 2.coola 3.pleasant 4.sad 5.atmosphere 6.to compose/create 7.lips
Without you, the pleasant days of the cool season feel sorrowful. The whole atmosphere is composed/made of sorrow. The air whistles and sings sad songs. The lips of flowers appear dry with thirst. Is she talking about the beloved or some other desire. She tantalizingly keeps it ambiguous until the very end with a subtle hint.
2
aisa lagta hai
hawa ki aaNkheN rote rote Khushk1 ho gaiN hoN
saba2 ke donoN haath Khaali haiN
keh shahr3 meN tera kahiN pata4 nahiN
saaNs lena kis qadar5 mahaal6 hai
udasiaaN — udasiaaN 1.dry 2.morning breeze 3.town 4.clue of whereabouts 5.so much 6.difficult
It feels as if the air has cried its eyes out and now, they are dry. The morning breeze comes empty handed, having returned after looking for you. It has not found any clue of your whereabouts in town. It is so difficult to breath. Sorrows … sorrow.
3
tamaam1 sabz2 saayadaar3 peRauN ne
tere baGhair4 vahshatauN5 meN apne pairaahan6 ko taar-taar7 kar dia hai
ab kisi shajar8 ke jism10 par qaba11 nahiN
sookhe zard12 patte
koo-ba-koo13 terii talaash14 meN bhaTak15 rahe haiN
udasiaaN — udasiaaN 1.all 2.green 3.shady 4.without 5.distress 6.clothes 7.shredded 8.tree 10.body 11.robe 12.pale, yellow 13.street by street 14.search 15.wander
All the green, shady trees, without you, in great distress have shredded the clothes they were wearing. Now, there no robe on any tree. The dry, yellow leaves wander from street to street looking for you. Sorrow, sorrow.
4
mere dareechauN1 meN gulaabi dhoop roz jhaaNkti hai
magar ab us ki aaNkhauN meN
vo jagmagahaTeN nahiN
jo tere vaqt meN zameen ke sabeeh2 maathe3 par
soorajauN ke kehkashaaN4 sajaane aati theeN 1.windows 2.beautiful, fair 3.forehead 4.constellation, stars
Golden sunlight peeps through my windows every day, but it no longer has the same sparkle in its eyes, which during your stay, used to come here, to decorate the forehead of the earth with stars shining brightly like the sun.
5
zameen bhi meri tarah1 hai!
tere baGhair2 iski kokh3 se bhi ab
koi gulab ug4 na paye ga
zameen baaNjh5 ho gaii hai 1.similar to, like 2.without 3.womb 4.sprout, grow 5.barren
The earth too, is like me. Without you, now from it womb no rose will grow. The earth has gone barren.
6
aur meri rooh1 ki bahaar-aafreeN2 kokh3 bhi!
meri soch4 ke sadaf5 meN
fun6 ke sachche moti kis tarah7 janam liya kareN
ke maiN saraapa8 tishnagi9 hooN
or duur duur tak—– visaal10-e abr ki Khabar11 nahiN 1.spirit, soul 2.spring creating, life giving 3.womb 4.thought, imagination 5.oyster shell 6.talent 7.way, means 8.head to toe, embodiment 9.thirst 10.union 11.news, knowledge
And the life-giving womb of my soul too! How will the oyster shell of my imagination be able to give birth to true pearls of talent when I am the embodiment of thirst and as far as I can see, there is no hint of the benevolent of cloud of union (with you).
7
mere or tere darmiaN1
paaNch paniauN ke des meN
kachche ghaRe bhi to meri dastras2 se duur haiN
maiN she’r kis tarah kahuN
meri soch3 ke badan ko tuu numu4 to de 1.between 2.reach 3.imagination 4.growth, creativity
This has reference to the romantic tale of sohini-mahivaal, two lovers separated by a river, whose union is opposed by the families. In desperation sohini climbs into an unfired clay pot to cross the river. The clay dissolves in water and she is drowned. Thus, between you and I, in the land for five rivers, even unfired clay pots are beyond my reach. How can I compose verse, unless you give creativity to the body of my imagination.
8
maiN tere baGhair1 wasteland huN 1.without
Without you, I am a barren wasteland. All of this could well be about the beloved but also about the inspiration to compose.
parveen shakir (1952-1994), English literature and linguistics, correspondent, educator, Pakistan Civil Service officer. Prolific writer bringing new thought and new forthright, feminist style to urdu shaa’eri. An explicit expression of love by women was taboo until courageous poets like parveen shakir pioneered it. She writes that this was composed inspired by TS Eliot’s ‘Wasteland’. This (2022) is the centennial of the publication of ‘Wasteland’ and I spent a lot of time trying to understand it and relating it to this composition. For more on the relationship between the two poems and for Eliot’s poem please click on the tab ‘Wasteland’.
1
tere baGhair1 sard2 mosamauN ke Khushgawaar3 din udaas4 haiN
fiza5 meN dukh racha6 hua hai!
hawa koi udaas4 geet gunguna rahi hai
phool ke labauN7 pe pyaas hai
1.without 2.coola 3.pleasant 4.sad 5.atmosphere 6.to compose/create 7.lips
Without you, the pleasant days of the cool season feel sorrowful. The whole atmosphere is composed/made of sorrow. The air whistles and sings sad songs. The lips of flowers appear dry with thirst. Is she talking about the beloved or some other desire. She tantalizingly keeps it ambiguous until the very end with a subtle hint.
2
aisa lagta hai
hawa ki aaNkheN rote rote Khushk1 ho gaiN hoN
saba2 ke donoN haath Khaali haiN
keh shahr3 meN tera kahiN pata4 nahiN
saaNs lena kis qadar5 mahaal6 hai
1.dry 2.morning breeze 3.town 4.clue of whereabouts 5.so much 6.difficult
It feels as if the air has cried its eyes out and now, they are dry. The morning breeze comes empty handed, having returned after looking for you. It has not found any clue of your whereabouts in town. It is so difficult to breath. Sorrows … sorrow.
3
tamaam1 sabz2 saayadaar3 peRauN ne
tere baGhair4 vahshatauN5 meN apne pairaahan6 ko taar-taar7 kar dia hai
ab kisi shajar8 ke jism10 par qaba11 nahiN
sookhe zard12 patte
koo-ba-koo13 terii talaash14 meN bhaTak15 rahe haiN
1.all 2.green 3.shady 4.without 5.distress 6.clothes 7.shredded 8.tree 10.body 11.robe 12.pale, yellow 13.street by street 14.search 15.wander
All the green, shady trees, without you, in great distress have shredded the clothes they were wearing. Now, there no robe on any tree. The dry, yellow leaves wander from street to street looking for you. Sorrow, sorrow.
4
mere dareechauN1 meN gulaabi dhoop roz jhaaNkti hai
magar ab us ki aaNkhauN meN
vo jagmagahaTeN nahiN
jo tere vaqt meN zameen ke sabeeh2 maathe3 par
soorajauN ke kehkashaaN4 sajaane aati theeN
1.windows 2.beautiful, fair 3.forehead 4.constellation, stars
Golden sunlight peeps through my windows every day, but it no longer has the same sparkle in its eyes, which during your stay, used to come here, to decorate the forehead of the earth with stars shining brightly like the sun.
5
zameen bhi meri tarah1 hai!
tere baGhair2 iski kokh3 se bhi ab
koi gulab ug4 na paye ga
zameen baaNjh5 ho gaii hai
1.similar to, like 2.without 3.womb 4.sprout, grow 5.barren
The earth too, is like me. Without you, now from it womb no rose will grow. The earth has gone barren.
6
aur meri rooh1 ki bahaar-aafreeN2 kokh3 bhi!
meri soch4 ke sadaf5 meN
fun6 ke sachche moti kis tarah7 janam liya kareN
ke maiN saraapa8 tishnagi9 hooN
or duur duur tak—– visaal10-e abr ki Khabar11 nahiN
1.spirit, soul 2.spring creating, life giving 3.womb 4.thought, imagination 5.oyster shell 6.talent 7.way, means 8.head to toe, embodiment 9.thirst 10.union 11.news, knowledge
And the life-giving womb of my soul too! How will the oyster shell of my imagination be able to give birth to true pearls of talent when I am the embodiment of thirst and as far as I can see, there is no hint of the benevolent of cloud of union (with you).
7
mere or tere darmiaN1
paaNch paniauN ke des meN
kachche ghaRe bhi to meri dastras2 se duur haiN
maiN she’r kis tarah kahuN
meri soch3 ke badan ko tuu numu4 to de
1.between 2.reach 3.imagination 4.growth, creativity
This has reference to the romantic tale of sohini-mahivaal, two lovers separated by a river, whose union is opposed by the families. In desperation sohini climbs into an unfired clay pot to cross the river. The clay dissolves in water and she is drowned. Thus, between you and I, in the land for five rivers, even unfired clay pots are beyond my reach. How can I compose verse, unless you give creativity to the body of my imagination.
8
maiN tere baGhair1 wasteland huN
Without you, I am a barren wasteland. All of this could well be about the beloved but also about the inspiration to compose.
I found this difficult, abstract, disjointed, with allusions to many diverse cultural and religious legends. I could not figure out how closely/directly this could inspire parveen shakir’s nazm. But the overall theme of abandonment, desolation and soul wrenching desire to compose verse rings loud and clear.
BY T. S. ELIOT
FOR EZRA POUND
IL MIGLIOR FABBRO
I. The Burial of the Dead April is the cruellest month, breeding
Lilacs out of the dead land, mixing
Memory and desire, stirring
Dull roots with spring rain.
Winter kept us warm, covering
Earth in forgetful snow, feeding
A little life with dried tubers.
Summer surprised us, coming over the Starnbergersee
With a shower of rain; we stopped in the colonnade,
And went on in sunlight, into the Hofgarten,
And drank coffee, and talked for an hour.
Bin gar keine Russin, stamm’ aus Litauen, echt deutsch.
And when we were children, staying at the arch-duke’s,
My cousin’s, he took me out on a sled,
And I was frightened. He said, Marie,
Marie, hold on tight. And down we went.
In the mountains, there you feel free.
I read, much of the night, and go south in the winter.
What are the roots that clutch, what branches grow
Out of this stony rubbish? Son of man,
You cannot say, or guess, for you know only
A heap of broken images, where the sun beats,
And the dead tree gives no shelter, the cricket no relief,
And the dry stone no sound of water. Only
There is shadow under this red rock,
(Come in under the shadow of this red rock),
And I will show you something different from either
Your shadow at morning striding behind you
Or your shadow at evening rising to meet you;
I will show you fear in a handful of dust.
Frisch weht der Wind
Der Heimat zu
Mein Irisch Kind,
Wo weilest du?
“You gave me hyacinths first a year ago;
“They called me the hyacinth girl.”
—Yet when we came back, late, from the Hyacinth garden,
Your arms full, and your hair wet, I could not
Speak, and my eyes failed, I was neither
Living nor dead, and I knew nothing,
Looking into the heart of light, the silence.
Madame Sosostris, famous clairvoyante,
Had a bad cold, nevertheless
Is known to be the wisest woman in Europe,
With a wicked pack of cards. Here, said she,
Is your card, the drowned Phoenician Sailor,
(Those are pearls that were his eyes. Look!)
Here is Belladonna, the Lady of the Rocks,
The lady of situations.
Here is the man with three staves, and here the Wheel,
And here is the one-eyed merchant, and this card,
Which is blank, is something he carries on his back,
Which I am forbidden to see. I do not find
The Hanged Man. Fear death by water.
I see crowds of people, walking round in a ring.
Thank you. If you see dear Mrs. Equitone,
Tell her I bring the horoscope myself:
One must be so careful these days.
Under the brown fog of a winter dawn,
A crowd flowed over London Bridge, so many,
I had not thought death had undone so many.
Sighs, short and infrequent, were exhaled,
And each man fixed his eyes before his feet.
Flowed up the hill and down King William Street,
To where Saint Mary Woolnoth kept the hours
With a dead sound on the final stroke of nine.
There I saw one I knew, and stopped him, crying: “Stetson!
“You who were with me in the ships at Mylae!
“That corpse you planted last year in your garden,
“Has it begun to sprout? Will it bloom this year?
“Or has the sudden frost disturbed its bed?
“Oh keep the Dog far hence, that’s friend to men,
“Or with his nails he’ll dig it up again!
“You! hypocrite lecteur!—mon semblable,—mon frère!”
The Chair she sat in, like a burnished throne,
Glowed on the marble, where the glass
Held up by standards wrought with fruited vines
From which a golden Cupidon peeped out
(Another hid his eyes behind his wing)
Doubled the flames of sevenbranched candelabra
Reflecting light upon the table as
The glitter of her jewels rose to meet it,
From satin cases poured in rich profusion;
In vials of ivory and coloured glass
Unstoppered, lurked her strange synthetic perfumes,
Unguent, powdered, or liquid—troubled, confused
And drowned the sense in odours; stirred by the air
That freshened from the window, these ascended
In fattening the prolonged candle-flames,
Flung their smoke into the laquearia,
Stirring the pattern on the coffered ceiling.
Huge sea-wood fed with copper
Burned green and orange, framed by the coloured stone,
In which sad light a carvéd dolphin swam.
Above the antique mantel was displayed
As though a window gave upon the sylvan scene
The change of Philomel, by the barbarous king
So rudely forced; yet there the nightingale
Filled all the desert with inviolable voice
And still she cried, and still the world pursues,
“Jug Jug” to dirty ears.
And other withered stumps of time
Were told upon the walls; staring forms
Leaned out, leaning, hushing the room enclosed.
Footsteps shuffled on the stair.
Under the firelight, under the brush, her hair
Spread out in fiery points
Glowed into words, then would be savagely still.
“My nerves are bad tonight. Yes, bad. Stay with me.
“Speak to me. Why do you never speak. Speak.
“What are you thinking of? What thinking? What?
“I never know what you are thinking. Think.”
I think we are in rats’ alley
Where the dead men lost their bones.
The wind under the door.
“What is that noise now? What is the wind doing?”
Nothing again nothing.
“Do
“You know nothing? Do you see nothing? Do you remember
Those are pearls that were his eyes.
“Are you alive, or not? Is there nothing in your head?”
O O O O that Shakespeherian Rag—
It’s so elegant
So intelligent
“What shall I do now? What shall I do?”
“I shall rush out as I am, and walk the street
“With my hair down, so. What shall we do tomorrow?
“What shall we ever do?”
The hot water at ten.
And if it rains, a closed car at four.
And we shall play a game of chess,
Pressing lidless eyes and waiting for a knock upon the door.
When Lil’s husband got demobbed, I said—
I didn’t mince my words, I said to her myself,
HURRY UP PLEASE ITS TIME
Now Albert’s coming back, make yourself a bit smart.
He’ll want to know what you done with that money he gave you
To get yourself some teeth. He did, I was there.
You have them all out, Lil, and get a nice set,
He said, I swear, I can’t bear to look at you.
And no more can’t I, I said, and think of poor Albert,
He’s been in the army four years, he wants a good time,
And if you don’t give it him, there’s others will, I said.
Oh is there, she said. Something o’ that, I said.
Then I’ll know who to thank, she said, and give me a straight look.
HURRY UP PLEASE ITS TIME
If you don’t like it you can get on with it, I said.
Others can pick and choose if you can’t.
But if Albert makes off, it won’t be for lack of telling.
You ought to be ashamed, I said, to look so antique.
(And her only thirty-one.)
I can’t help it, she said, pulling a long face,
It’s them pills I took, to bring it off, she said.
(She’s had five already, and nearly died of young George.)
The chemist said it would be all right, but I’ve never been the same.
You are a proper fool, I said.
Well, if Albert won’t leave you alone, there it is, I said,
What you get married for if you don’t want children?
HURRY UP PLEASE ITS TIME
Well, that Sunday Albert was home, they had a hot gammon,
And they asked me in to dinner, to get the beauty of it hot—
HURRY UP PLEASE ITS TIME
HURRY UP PLEASE ITS TIME
Goonight Bill. Goonight Lou. Goonight May. Goonight.
Ta ta. Goonight. Goonight.
Good night, ladies, good night, sweet ladies, good night, good night.
The river’s tent is broken: the last fingers of leaf
Clutch and sink into the wet bank. The wind
Crosses the brown land, unheard. The nymphs are departed.
Sweet Thames, run softly, till I end my song.
The river bears no empty bottles, sandwich papers,
Silk handkerchiefs, cardboard boxes, cigarette ends
Or other testimony of summer nights. The nymphs are departed.
And their friends, the loitering heirs of city directors;
Departed, have left no addresses.
By the waters of Leman I sat down and wept . . .
Sweet Thames, run softly till I end my song,
Sweet Thames, run softly, for I speak not loud or long.
But at my back in a cold blast I hear
The rattle of the bones, and chuckle spread from ear to ear.
A rat crept softly through the vegetation
Dragging its slimy belly on the bank
While I was fishing in the dull canal
On a winter evening round behind the gashouse
Musing upon the king my brother’s wreck
And on the king my father’s death before him.
White bodies naked on the low damp ground
And bones cast in a little low dry garret,
Rattled by the rat’s foot only, year to year.
But at my back from time to time I hear
The sound of horns and motors, which shall bring
Sweeney to Mrs. Porter in the spring.
O the moon shone bright on Mrs. Porter
And on her daughter
They wash their feet in soda water
Et O ces voix d’enfants, chantant dans la coupole! Jug jug jug jug jug jug
So rudely forc’d.
Under the brown fog of a winter noon
Mr. Eugenides, the Smyrna merchant
Unshaven, with a pocket full of currants
C.i.f. London: documents at sight,
Asked me in demotic French
To luncheon at the Cannon Street Hotel
Followed by a weekend at the Metropole.
At the violet hour, when the eyes and back
Turn upward from the desk, when the human engine waits
Like a taxi throbbing waiting,
I Tiresias, though blind, throbbing between two lives,
Old man with wrinkled female breasts, can see
At the violet hour, the evening hour that strives
Homeward, and brings the sailor home from sea,
The typist home at teatime, clears her breakfast, lights
Her stove, and lays out food in tins.
Out of the window perilously spread
Her drying combinations touched by the sun’s last rays,
On the divan are piled (at night her bed)
Stockings, slippers, camisoles, and stays.
I Tiresias, old man with wrinkled dugs
Perceived the scene, and foretold the rest—
I too awaited the expected guest.
He, the young man carbuncular, arrives,
A small house agent’s clerk, with one bold stare,
One of the low on whom assurance sits
As a silk hat on a Bradford millionaire.
The time is now propitious, as he guesses,
The meal is ended, she is bored and tired,
Endeavours to engage her in caresses
Which still are unreproved, if undesired.
Flushed and decided, he assaults at once;
Exploring hands encounter no defence;
His vanity requires no response,
And makes a welcome of indifference.
(And I Tiresias have foresuffered all
Enacted on this same divan or bed;
I who have sat by Thebes below the wall
And walked among the lowest of the dead.)
Bestows one final patronising kiss,
And gropes his way, finding the stairs unlit . . .
She turns and looks a moment in the glass,
Hardly aware of her departed lover;
Her brain allows one half-formed thought to pass:
“Well now that’s done: and I’m glad it’s over.”
When lovely woman stoops to folly and
Paces about her room again, alone,
She smoothes her hair with automatic hand,
And puts a record on the gramophone.
“This music crept by me upon the waters”
And along the Strand, up Queen Victoria Street.
O City city, I can sometimes hear
Beside a public bar in Lower Thames Street,
The pleasant whining of a mandoline
And a clatter and a chatter from within
Where fishmen lounge at noon: where the walls
Of Magnus Martyr hold
Inexplicable splendour of Ionian white and gold.
Oil and tar
The barges drift
With the turning tide
Red sails
Wide
To leeward, swing on the heavy spar.
The barges wash
Drifting logs
Down Greenwich reach
Past the Isle of Dogs.
Weialala leia
Beating oars
The stern was formed
A gilded shell
Red and gold
The brisk swell
Rippled both shores
Southwest wind
Carried down stream
The peal of bells
White towers
Weialala leia
Highbury bore me. Richmond and Kew
Undid me. By Richmond I raised my knees
Supine on the floor of a narrow canoe.”
“My feet are at Moorgate, and my heart
Under my feet. After the event
He wept. He promised a ‘new start.’
I made no comment. What should I resent?”
I can connect
Nothing with nothing.
The broken fingernails of dirty hands.
My people humble people who expect
Nothing.”
Burning burning burning burning
O Lord Thou pluckest me out
O Lord Thou pluckest
Phlebas the Phoenician, a fortnight dead,
Forgot the cry of gulls, and the deep sea swell
And the profit and loss.
A current under sea
Picked his bones in whispers. As he rose and fell
He passed the stages of his age and youth
Entering the whirlpool.
Gentile or Jew
O you who turn the wheel and look to windward,
Consider Phlebas, who was once handsome and tall as you.
After the torchlight red on sweaty faces
After the frosty silence in the gardens
After the agony in stony places
The shouting and the crying
Prison and palace and reverberation
Of thunder of spring over distant mountains
He who was living is now dead
We who were living are now dying
Here is no water but only rock
Rock and no water and the sandy road
The road winding above among the mountains
Which are mountains of rock without water
If there were water we should stop and drink
Amongst the rock one cannot stop or think
Sweat is dry and feet are in the sand
If there were only water amongst the rock
Dead mountain mouth of carious teeth that cannot spit
Here one can neither stand nor lie nor sit
There is not even silence in the mountains
But dry sterile thunder without rain
There is not even solitude in the mountains
But red sullen faces sneer and snarl
From doors of mudcracked houses
If there were water
And no rock
If there were rock
And also water
And water
A spring
A pool among the rock
If there were the sound of water only
Not the cicada
And dry grass singing
But sound of water over a rock
Where the hermit-thrush sings in the pine trees
Drip drop drip drop drop drop drop
Who is the third who walks always beside you?
When I count, there are only you and I together
But when I look ahead up the white road
There is always another one walking beside you
Gliding wrapt in a brown mantle, hooded
I do not know whether a man or a woman
—But who is that on the other side of you?
What is that sound high in the air
Murmur of maternal lamentation
Who are those hooded hordes swarming
Over endless plains, stumbling in cracked earth
Ringed by the flat horizon only
What is the city over the mountains
Cracks and reforms and bursts in the violet air
Falling towers
Jerusalem Athens Alexandria
Vienna London
A woman drew her long black hair out tight
And fiddled whisper music on those strings
And bats with baby faces in the violet light
Whistled, and beat their wings
And crawled head downward down a blackened wall
And upside down in air were towers
Tolling reminiscent bells, that kept the hours
And voices singing out of empty cisterns and exhausted wells.
In this decayed hole among the mountains
In the faint moonlight, the grass is singing
Over the tumbled graves, about the chapel
There is the empty chapel, only the wind’s home.
It has no windows, and the door swings,
Dry bones can harm no one.
Only a cock stood on the rooftree
Co co rico co co rico
In a flash of lightning. Then a damp gust
Ganga was sunken, and the limp leaves
Waited for rain, while the black clouds
Gathered far distant, over Himavant.
The jungle crouched, humped in silence.
Then spoke the thunder
DA
Datta: what have we given?
My friend, blood shaking my heart
The awful daring of a moment’s surrender
Which an age of prudence can never retract
By this, and this only, we have existed
Which is not to be found in our obituaries
Or in memories draped by the beneficent spider
Or under seals broken by the lean solicitor
In our empty rooms
DA
Dayadhvam: I have heard the key
Turn in the door once and turn once only
We think of the key, each in his prison
Thinking of the key, each confirms a prison
Only at nightfall, aethereal rumours
Revive for a moment a broken Coriolanus
DA
Damyata: The boat responded
Gaily, to the hand expert with sail and oar
The sea was calm, your heart would have responded
Gaily, when invited, beating obedient
Fishing, with the arid plain behind me
Shall I at least set my lands in order?
London Bridge is falling down falling down falling down
Poi s’ascose nel foco che gli affina
Quando fiam uti chelidon—O swallow swallow
Le Prince d’Aquitaine à la tour abolie
These fragments I have shored against my ruins
Why then Ile fit you. Hieronymo’s mad againe.
Datta. Dayadhvam. Damyata.
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